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This Is Epic

A curation of our design ideas and inspirations for houses in Goa, contemporary art and architecture.

 

 

 

 

Posts tagged art gallery
Discover Arthshila Goa: A New Art Gallery in Nachinola, Aldona

In the quiet village of Nachinola, Aldona, a cultural space has taken root - Arthshila Goa. This art and design space is not just a gallery, but a platform for dialogue, exploration, and immersive experiences across disciplines. Before the campus of Arthshila became what it is today, the building itself had a story of transformation and purpose. Originally imagined as a space called ‘Thinkering,’ the venue was an experimental playground for ideas and creative interventions. Thinkering was a place of conceptual ferment, where artists, architects, designers, and thinkers came together to tinker and ideate. Later Thinkering became Arthshila Goa - a formal extension of the vision of Takshila Education Society

What is Arthshila?
Arthshila is a cultural institute, an initiative by the Takshila Education Society, which has long been committed to promoting education, arts, and public discourse. With other centers in Ahmedabad, Santiniketan, Patna, New Delhi and now in Goa, Arthshila continues the legacy by building interdisciplinary collaboration, curating exhibitions, and hosting events that speak to both local and global audiences. Arthshila Goa, curated by Maanasi Hattangadi and coordinated by Reethee, explores the intersection of art, architecture, cinema, and design.

Since its launch, Arthshila Goa has hosted an eclectic range of curated exhibitions that reflect the ethos of the space - thought-provoking, relevant, and rooted in contemporary discourse. The inaugural exhibition ‘A Desert Meets a Forest: Contemporary Art from the Himalayas; Curated by Latika Gupta’ spoke about a ‘sense of place’ that is difficult to define; geographers, sociologists, environmentalists and psychologists have described it as the particular affective bonds between places and people. The idea of 'place' is continually produced via a relationship with the land, atmosphere, ecology, cultural contexts and the evolving nature of regions, particularly the borderlands which are especially precarious and susceptible to the effects of climate change, geopolitics and unchecked tourism; all of which have an impact on people and their everyday lives and futures. The artists in this exhibition have a deep connection with the Himalayas - from the cold desert high altitude region of Ladakh to the forested borderlands of Arunachal in the Eastern Himalayas; living and working there. The works reflect experiments with material drawn from the land and processes of making that incorporate the wind, water and weather; bringing to us explorations into local histories, ecologies, belief systems and ways of being. During the timeline of this exhibition, events like film screenings, talks, performances, zine making workshops, among others were taking place.

On 22nd March 2025, the new exhibition Kaghazi Pairahan’ opened. A travelling library of artists' publications exploring social and political dissent across South Asia. Curated by Akshay Mahajan & Devadeep Gupta and presented by Editions JOJO, the exhibition showcases photobooks, zines, and pamphlets that examine publishing as a tool of resistance - against state violence, caste oppression, patriarchy, environmental degradation, and censorship. This iteration expands with new works on protest, citizenship, and memory, featuring interventions by Amchem Mollem, Nishant Saldanha, Niharika Chauhan, Krithika Sriram, and
Rajyashri Goody.

The most recent exhibition, on display from 5th July 2025, Lands, Real and Imagined: Women Artists Respond to the Art & Travel Writings of Maria Graham (1785-1842)’. The exhibition features artistic responses by Kavita Shah, Francesca Genna, Isabel Cauas, Leila Danziger, and Paula Bonet - who engage with Graham’s life and work from their distinct cultural and artistic contexts. These responses reflect the curatorial perspectives of Dr. Patricia Frick, a specialist in Victorian literature and women’s travel writing, and Dr. Janice Glowski, an art historian and curator focused on South Asian and Himalayan art.⁣

The Space
Arthshila Goa allows conversation, reflection, and creativity, the spaces offer a range of environments that cater to varied forms of engagement. As you enter the campus of Arthshila, you walk towards the amphitheatre which is the heart of the space. The outdoors serve as an informal gathering zone, ideal for workshops, conversations, film screenings or simply a quiet moment under the sky.

The Galleries (Gallery 1 & 2) at Arthshila Goa invite visitors into a world of artistic exploration. These spaces accommodate a broad spectrum of exhibitions - from painting and sculpture to printmaking, ceramics, textiles, installations, and design. These galleries showcase visual arts, culture, and multimedia formats, encouraging diverse expressions across disciplines.
The Reading Room at Arthshila Goa houses a thoughtfully curated collection of books, periodicals, digital resources, and films focused on architecture, design, and visual culture. Visitors are welcome to explore the library's physical archive, making it a quiet, resource-rich space for public engagement and research.
The Multipurpose Space is a room to host workshops tailored for diverse audiences, accommodating a wide range of interests and competencies. Envisioned as a space for regular collaborative programming, it is also fully equipped to host film screenings, artist talks, and interactive discussions.

The Takshila Vision
The larger body behind Arthshila is the Takshila Education Society, a non-profit organization that supports initiatives in education, arts, and culture. Through Arthshila, Takshila continues to build spaces for critical thinking, dialogue, and cultural engagement. Each Arthshila centre, whether in Ahmedabad, Santiniketan, Patna, New Delhi or Goa, reflects a local sensitivity while aligning with a broader mission of interdisciplinary collaboration.

Why Visit Arthshila Goa?
Whether you're an artist, a student, a researcher, or a curious traveler, Arthshila Goa offers a unique window into the evolving world of art and ideas. So, if you find yourself in Goa and want to go beyond the beaches, head to Nachinola, spend an evening at Arthshila. Let the art speak, the space breathes, and the ideas flow.


Photographs and Posters were taken from Arthshila Goa website and instagram
Photograph credits: Saiesh Mahale & V V Kusum Priya
Text written by V V Kusum Priya


Follow Arthshila Goa:
Instagram: @arthshila_goa
Website: arthshila.org/goa


Plan Your Visit:
Location: 273, Nachinola, Goa
Tuesday to Sunday, 11am to 7pm
Open to all. Entry is free.

A Book Summary: GOA, Subodh Kerkar’s Canvas

Authored and curated by Kunal Ray, ‘Goa: Subodh Kerkar’s Canvas’ by Subodh Kerkar elucidates the multifaceted and often-untold history of Goa. Through the eyes of the artist Subodh Kerkar, the book delves into the state's diverse historical elements, spanning its architecture, diaspora, culinary traditions, and colonial heritage. Offering a visually compelling journey, the book examines Goa's people, its vital waters, and their intricate connection to its past. Furthermore, it traces Kerkar's personal evolution from childhood to adulthood as reflected in his paintings, revealing how his early exposure to his father's artistic practice, his travels, and his exploration of diverse artistic approaches shaped his growth and broadened his horizons.

From an early age, Kerkar began painting under his father's guidance, focusing on watercolor depictions of idyllic Goan village landscapes. His initial lessons centered on capturing the nuances of his surroundings in Goa, particularly the use of shade and light to replicate the patterns of leaves. Kerkar's early artistic explorations also included architectural works, his first serious series of artworks, inspired by his interest in the unique architectural heritage of Goa.

In this book, the author tries to show that the artist's roving eye misses nothing: the ocean's imprint on boats, seashells, the lives of fisher folk, and Goan cuisine. Subodh's daring and experimental works include 500 terracotta heads planted on the beach, expansive sand-and-light installations, oysters growing on plates immersed in the ocean, fisher folk depicted in ink, crochet, laterite sculptures, and much more.

Subodh has created several artworks connected with food. One of his most playful sculptures shows different food items growing on Vasco da Gama's head. He has used coconut leaves for installations and made discs with coconut shells. For an art installation, he planted rice, replicating Vasco da Gama's travel route. Subodh says that Goa's fields grow both rice and footballers. During monsoons, the fields grow rice and, in summer, they yield footballers. Football is one of the most important sports in Goa. Subodh planted footballs in the fields to draw the attention of the authorities to the condition of open spaces, urging them to construct more fields for the local youth. The activist coexists with the artist. Subodh doesn't want to disengage one from the other.
~ Excerpt from the book

This book integrates art and environment in a work of enduring beauty and resistance. Ultimately, the author's intended message is to reveal how Subodh Kerkar's artistic journey is deeply intertwined with his observation of Goa's history, culture, and natural environment, and how his art serves as a powerful medium to explore and express these connections.

‘There is a wide-prevailing misconception confusing Goan houses with Portuguese architecture. While Portuguese or European architectural styles could have been an influence, the architecture of the Goan house which includes a balcao (balcony with an inbuilt seating arrangement), decorative windows with coloured glass and oyster shells, railings, columns, compound walls, gate designs, and mosaic floors is a style unique to Goa. Subodh Kerkar, amongst many several other artists, architects, and historians of Goa, believes that to identify this architectural style as Portuguese is an incorrect gross generalisation. Subodh also says that during his long and extensive travels in Portugal, he had never seen such homes. Therefore, these should be termed as Goan houses.’
~ Excerpt from the book

‘It must be acknowledged that in the work of Subodh Kerkar, the beach is a site of performance and exhibition. It is also a marker of his identity as a Goan artist who integrates his surroundings into his art. Further, this can be construed as an expression of the artist's inner resolve to take art beyond the confines of a gallery or closed museum space by bringing it out in the open amidst multitudes of people, many of whom may have had nothing to do with art in their lives. We also sense a kind of freeing up in his art, refusing to be constrained by closed spaces through these installations held in the open.’
~ Excerpt from the book

On Saturday, April 5th, 2025, artist and founder of the Museum of Goa, Dr. Subodh Kerkar, led attendees at Kala Academy, Panjim, on an exploration that transcended conventional understanding. His highly anticipated lecture, 'Glimpses of Goa's Histories,’ offered a profound dive into the region's intricate past, uncovering narratives often overlooked in popular accounts.
This lecture organised by the Museum of Goa in Pilern, beautifully merged art, history, and identity through the perspective of an artist whose creations have consistently resonated with the essence of his native land. Notably, the lecture also served as the launch for ‘Goa: Subodh Kerkar's Canvas,’ a book by cultural critic Kunal Ray that meticulously chronicles Kerkar's artistic journey and his sustained dialogue with Goa's heritage.

Subodh’s artwork exists at the confluence of aesthetics and social consciousness. Subodh’s art is interdisciplinary, immersive and thought provoking to say the least.
— Kunay Ray, cultural critic

Text by V V Kusum Priya


About Subodh Kerkar
Subodh Kerkar is a qualified medical professional who gave up medicine to pursue the visual arts. He has carved out a niche for himself, especially in the field of conceptual art. He is the founding director of Museum of Goa, which is one of the largest privately owned contemporary art spaces in the state. His work has been shown at exhibitions and several art events in India and abroad. He is also a well-known public speaker and educator.

About Kunal Ray
Kunal Ray teaches courses in literary & cultural studies. He studied at Fergusson College, Pune where he also taught briefly before joining FLAME. He is a leading cultural commentator, and his writing regularly appears in The Hindu, The Hindustan Times, The Indian Express amongst other publications. He recently co-edited Shabd aur Sangeet - Unravelling Song-Text in India (Three Essays Collective, May 2019). He is also the co-founder and co-editor of On Eating - A Multilingual Journal of Food & Eating (oneating.in)

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Finding Art in Goa

As architects, we are always on the lookout for art to incorporate into our projects, especially for our artisanal villa developments in Goa. As we design only one home at a time, we take our time with every detail, ensuring each home is unique and thoughtfully designed. One of the important aspects of this process is selecting the right art to complement the design. Over time, we've come across many wonderful galleries across Goa, and we're excited to share our favorite spots with you.

You don’t make art, you find it
— Pablo Picasso

Explore more in Goa…

At the Art Park, Serendipity

The recent exhibition at Art Park during Serendipity in Panjim was inspiring. It was great to see young creators bring attention to Goa’s unique architectural details and showcase its heritage in creative ways. It is important to celebrate the culture and traditions of the place we live in. Exhibitions like this remind us of the value of our surroundings.

The panels on display highlighted Goa’s traditions, culture, and design elements. Each one told a story about the region’s past and its special character. Some panels that caught my eye were:

Déjà vu by hh art spaces

During a recent visit to HH Art Spaces in Aldona, Goa opened in 2014, I saw the ‘Déjà vu’ exhibition, which was a part of a few live performances. This exhibition, photographed by Shivani Gupta, with a focus on performances using masks as props beautifully captured the essence of live performances. The photographs preserved the emotions and energy of the performances, allowing viewers to engage with themes of identity and change even after the live acts ended. One photograph of the exhibit particularly stood out to me, it was Farah Naz Moon’s performance with a green paper sheet.

In this simple piece Called 'How to live together?’, the artist held a large sheet of green paper that moved with her breath and the wind, seemingly merging her with the background. The paper gently covered her face, blurring her identity while locating her presence in the space. Like she was becoming one with her surroundings, not by disappearing but by blending into the context around her.

How to live together?

This reminded me of our architectural practice- Grounded in Goa. When we design villas in Goa, especially with projects that engage with the natural beauty of the land like the House with Three Pavilions and Nivim, we strive for something similar. Architecture that doesn’t dominate but complements. We don’t hide the building behind metaphorical paper sheets, but we design in a way that responds to the environment. 

If you're in Goa and love art, be sure to visit HH Art Spaces in Aldona. Located beside a beautiful St. Thomas’ Church with a stunning view, they showcase exhibitions that bring together contemporary art and performance. It's a must-visit for art enthusiasts, young artists, and art collectors looking to explore something unique.

St. Thomas’ Church

Amdavad ni Gufa

During my recent trip to Gujarat for the FOAID event in Ahmedabad, for a talk about our practice in Goa, Grounded. I visited ‘Amdavad Ni Gufa’ where art meets architecture quite literally. This extraordinary art gallery designed by B. V. Doshi, houses the works of the famous artist M. F. Husain. Also known as the Hussain-Doshi Gufa, the design of the space perfectly complements the art in it. The curves, openings, and enclosures create a unique environment with light and shadow playing beautifully throughout the space.

Amdavad Ni Gufa was born out of a conversation between Doshi and Husain that took place thirty years before the project began. The design was a response to the climate, exploring the benefits of underground spaces. The tortoise shell-shaped roof was computer-aided and employed local craftspeople. Made from ferro-cement and then covered with a mosaic of waste tiles and broken cutlery. These tiles reflect sunlight and help keep the interiors cooler than the outside.

Source: ©Hussain-Doshi Gufa

For art lovers visiting Ahmedabad, Amdavad Ni Gufa is a must-visit. It’s not just about the art on the walls; it’s about the entire experience of being in this space. The Gufa leaves a lasting impression, offering a cool, peaceful environment like an ancient cave of modern heritage.